Wikimachin nous propose en Granbriton un survol de l'enregistrement qui ne m'éclaire pas plus que ça (il est question du traîtement du son, pas du matériau source), et que je laisse à vos traducteurs chéris:
Musically the song consists of a series of ominous chords played over a simple drum machine pattern (the Roland CR-78 Disco-2 pattern, plus some programming); processed electric guitar sounds and vocoded vocals on key words add additional atmosphere. The mood is one of restrained anger until the final chorus when an explosive burst of drums releases the musical tension, and the instrumentation builds to a thundering final chorus.
Collins wrote the song in the wake of a failing relationship with his then-wife. Collins has described obtaining the drum machine specifically to deal with these personal issues through songwriting,
[edit] Drum sound“ "Musically, it's an extraordinarily striking record, because almost nothing happens in it ... It's the drum sound in particular that's amazing. You don't hear it at all for the first two minutes of the song ... then there's that great doo-dom doo-dom doo-dom comes in, and the drums come in half way through the song, setting the template for all the Eighties drum songs after that" - Stuart Maconie[4] ”
The means by which Collins attained the drum sound on this recording was long a source of mystery. The exact process was, as happens so often, a result of serendipity: an unintended use of studio technology giving unexpectedly useful results.
In this case, the Solid State Logic 4000 mixing board had a "reverse talk-back" circuit (labeled on the board as “Listen Mic"). Normal “talkback" is a button that the mixing engineer has to press in order to talk to the recording musicians (the recording and the mixing parts of a studio are, otherwise, completely sonically isolated). Reverse talkback is a circuit (also button-activated) for the engineer to listen to musicians in the studio. In order to compensate for sound level differences — people can be close to the reverse talkback microphone or far off — this circuit has a compressor on it, which minimizes the differences between loud and soft sounds. While recording “Intruder" for his ex-bandmate Peter Gabriel's solo album, at some point Collins started playing the drums while the reverse talkback was activated. Engineer Hugh Padgham and his friend Jeffrey were amazed at the sound achieved. Overnight, they rewired the board so that the reverse talkback could be recorded in a more formal manner. Later models of the SSL 4000 allowed the listen mic to be recorded with the touch of a button.[2]
When recording engineer Hugh Padgham was brought in to help develop Collins' demos that would become Face Value they recreated the “Intruder" sound using the reverse talkback microphone as well as heavily compressed and gated ambient mics. Hugh Padgham continued working with Genesis for Abacab later in 1981 and the same technique (generally referred to as gated reverb) was used, and the powerful drum sound has become synonymous with later Genesis projects and Collins' solo career ever since.
The original single version of "In the Air Tonight" features extra drums that play underneath the song until the signature drum crash appears. These were added at the suggestion of Atlantic Records head Ahmet Ertegun. In 2007, Collins wrote:[5]
Ahmet came down to the final mix in the cutting room in New York (. . .) The drums don't come in until the end but Ahmet didn't know that at this point, because on the demo the drums hadn't come in at all; it was only drum machine all the way. And he was saying, 'Where's the down beat, where's the backbeat?' I said, 'The drums come in in a minute.' 'Yeah, you know that and I know that, but the kids don't know that; you've got to put the drums on earlier.' So we added some drums to the mix and put it out as a single.
PETITE CONTRIBUTION AU TOPIQUE: ma Filkolynx du pauvre: (le 14" suspendu et le 16" se cachent)
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A ouaiiiiii..... moi c'était une Ami 6 break , avec la ride de 20 dans le fond de la gc , puis la couverture, et le reste par dessus, ça c'est de l'optimisation.
: Syrian rêve toutes les nuits qu'une meute de chevelus rotant la Kronenbourg, en bermuda camouflage et T-shirt Tama le poursuit en hurlant "Fuck Craviotto" en true evil et en destroyant des Noble and Cooley à coups de king size carbosticks. Zatsouaille 
